DThe New Tretyakov Gallery is currently exhibiting a retrospective of Art Nouveau painter Mikhail Vrubel (1856-1910). Russian art historians often compare him with Van Gogh because he was misunderstood during his lifetime Finally, visual language in psychiatry in his later years was foreseen as early as the twentieth century. The Tretyakov Collection, the Petersburg Russian Museum, private collections, and more than 300, sometimes even super-large paintings and drawings from Wrubel’s hometown of Omsk, are deliberately presented in a non-chronological manner in order to The thinking and working methods related to the artist’s subject can be experienced in the crystal structure. The architect Sergej Choban, who lives between Petersburg and Berlin, built a set of concentric rooms without right angles, in which the polyhedral windows opened for reference. The fact that Frubel’s 1884 and 1889 Kiev stage Christian modernist paintings disappeared, some of which appeared in the extensive catalogue, was also ignored.
With the blessing of the relatively open-minded Kiev church authorities, where they created depictions of the resurrected Christ and the Virgin Mary, their spherical cartoon eyes made highly educated artists’ views of the world of pantheistic mythology clear. A separate hall pays tribute to his Moscow discoverer and patron Savva Mamontov, who provided a ceramic workshop in his Abramzewo Vrubel artist colony and commissioned him to set up the stage for his private opera. However, a key work of the Russian Art Nouveau, the seven-and-a-half-meter-wide “Dream Princess”, evokes a transformative effect based on the beauty of French neo-romantic Edmond Rosdande. It was first introduced in industry and Nizhny Novgo in 1896. Rod’s art exhibition was dismissed as decadent. Maxim Gorki found the flatness and angular lines inspired by Byzantine mosaics very sad.
The center of the exhibition is a picture of Wrubel’s immortal mysterious demon, originally created as an illustration of Michail Lermontov’s poem of the same name, and it also embodies the rebellious spirit of the time. Apostate angels first appeared in a sitting posture of fractal colored shadows in 1890, with sky blue cloth wrapped around their knees. After a pause of nearly ten years, Wrubel painted “Flying Demon” in 1899, which is an extreme landscape painting. The figure spreads its powerful black wings with an anatomically impossible distortion, and at the same time squeezes out of the room, as if In the cave. This painting was considered unfinished for a long time, and was eventually collected in the Russian Museum during the Soviet era. In 1902, “Fallen Demon” lay in a garland of peacock feathers in almost the same twisted posture, and ended the theme in a depression. This painting was immediately regarded as a tragic prophecy by his contemporaries, and Wrubel, who was passionately devoted to it, changing and changing it, then became a mentally ill person.
Thanks neurologist
Wrubel’s increasingly self-worthy color domains often reach the limits of non-expressionism. The paintings “Morning” and “Lilac” are mainly composed of lavender green growth, with only two small heads poking out from inside like nature. But this multilingual artist familiar with Homer’s original works felt the happiest in his happiest period as a commissioned painter of a Moscow industrialist, first as a new Renaissance painter, and created, for example, “The Choice of Paris.” The triptych as a villa of Dunk is designed in Palladian style, assigning air, water and earth elements to the three goddesses Juno, Venus and Minerva. Wrubel placed his Greek god Pan in the twilight of the Russian birch forest and gave him the fairytale characteristics of the Slavic forest elf Leschi.
Wrubel’s great graphic works in recent years have been preserved to a large extent, thanks mainly to the neurologists he treated. Under the supervision of W. Pomorzow, haunting colored pencil portraits were created on the border between madness and expressiveness; in Fyodor Usolzew’s clinic, he painted doctors, nurses, and his bed frame or Snowdrifts, where he drew sharp crystal structures. An almost constructivist approach. After he was released, a mother-of-pearl shell once given to him as an ashtray became the picture universe at home. He used pastels and pencils to capture the most exquisite nuances, and even saw the little fairy in it.
